Any fear that Florence Welch may have felt the need to dial down her powerhouse delivery or trade in that wonderful bigger-is-better esthetic for something more subtle on album No. 2 are put to rest early on Ceremonials, the soaring epic of a followup from U.K.’s most promising indie-darling.

Flo, apparently, doesn’t dial down. Her sophomore outing, if anything, is bigger, more melodramatic, more layered and showcases even more ambition than Lungs, her endearingly assured debut. Miraculously, Welch manages to fit all of this into a package that seems neither showy in a self-conscious way nor a simple polished magnification of those qualities that made her an indie star to begin with. Even without those two impossibly catchy singles -- "Shake it Out" and "What the Water Gave Me" -- Ceremonials would be one of the boldest grabs at soul-pop glory in recent memory, where commercial ambitions align perfectly with artistic ones. It also may be the year’s first truly filler-free album, from the sly R&B kick of "Heartlines" to the unabashedly joyful 1960s soul of "Lover to Lover" and the epic goth sounds of "Seven Devils."

Even the grandiose "All This And Heaven Too," a song that cheerfully flirts with the schmaltzy melodrama of a show tune, sounds more powerful than cheesy. Sophomore slump? Not this machine.

Rating: 4.5 out of 5

--Eric Volmers, Postmedia News

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Justin Bieber

Under the Mistletoe

(Universal)

If you're aching to hear the last "pum" on "rum-pa-pum-pum" delivered in a 10-syllable melisma, followed by a rap section, your worries are over: The Bieb and Busta Rhymes are at your service on "Drummer Boy," from the 17-year-old heartthrob's first seasonal disc.

But if you believe there's already way too much horrible Christmas music, steer clear of this collection of dreadful originals, most of them Bieber co-writes, and appalling misreadings of over-roasted chestnuts. (As a matter of fact, a grandstanding desecration of "The Christmas Song," with Usher, is a low point). And if you're barely holding it together during the coming weeks of seasonal stress, be careful to avoid random coffee-shop speakers playing the abysmal Bieber and Mariah Carey duet. You've been warned.

Rating: 0 out of 5

--Bernard Perusse, Postmedia News

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Down with Webster

Time to Win, Vol. 2

(Universal)

At first, the major label debut from Toronto rap-rock act Down with Webster sounds like the pre-emptive soundtrack to a Canadian version of Jersey Shore. It's all popped collars, testosterone and pick-up lines, like someone turned a drag race into open mic night. But once songs like "She's Dope" and "Big Wheels" get into your head? They. Will. Not. Leave. It's like getting bitten by a zombie frat-boy. You think you can walk it off, but soon you're staggering around, muttering about getting your "cups up" and calling every woman you see "girl" while licking your lips all sleazy-like. You might even start appreciating the organic drums, the hand-clap production on "Professional" and the occasional electronic flourish on "Go Time."

Rating: 2.5 out of 5

--Al Kratina, Postmedia News

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Lou Reed and Metallica

Lulu

(Warner)

Perhaps history will prove them right. Perhaps in decades, maybe a century, possibly more, time will give enough context to the collaboration between Lou Reed and Metallica, that Lulu might be heralded as a unique vision, a bold musical statement, something so, to borrow a phrase, “streets ahead” that its artistic worth could not possibly have been appreciated in its own time. Or perhaps then, as now, it will still be a virtually unlistenable exercise in self-indulgence and the true test of pain thresholds. Whatever the case, full marks to Reed and the band for embarking on something that’s ambitious and stretches any ideas of who they are as artists, an avant metal album marrying the non-linear evacuations of the elder statesmen of NYC rock with ham-fisted often assaultive riffing and noodling. At times it sounds like something Sonic Youth would do if they’d spent more time in auto shop than art class. And both parties had to know the majority of their fans would be challenged, at best, affronted at worst, which makes it all the more brave. But, that aside, there’s virtually nothing to make one forgive it for the turgid, malodorous experience it is. There’s little or no cohesion between the two entities who seem to be making two different records -- both bad -- and even when they do mildly click, as on 11-minute tracks "Cheat On Me" and "Dragon," it’s fleeting in the context of the song and forgettable throughout the course of the entire statement. In fact, the somewhat pleasant 20-minute closer "Junior Dad" -- possibly Lulu’s sole musical redeemer -- succeeds, such as it is, because it’s an ambient, orchestral track where Metallica takes more of a back seat to the string-section. And by then, perhaps any pleasure is merely matter of submission, happy that the experience, itself, is finally history.

Rating: 1 out of 5

--Mike Bell, Postmedia News

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